Saul Rodgar

Paul, do it up! I wouldn't over analyze it. Just go with the flow. In my neck of the woods, everyone is still dazzled by frigging RED and DSLRs. Just get it while the getting is good. It would be great if film made a huge comeback . . .

I love that Cardiff / Technicolor story. He also tells it in the Black Narcissus Criterion DVD extras.

Lovely, I wonder if they plan to release their Noctilux 50mm prime for cine use as well. Not that I am complaining about a great-range T1.4 prime lens set, tho.

I know Po and Shane. Glad to see they are doing top notch work, as always. I don't think it is fair to judge the camera's picture strength by looking at an infinitely compressed Vimeo flick tho.

Sure, those and many more. It really depends on the look of the movie. I particularly like The Girl With the Pearl Earring for its Vermeer content and look. But I also love the Francis Bacon biopic film Love Is The Devil. As I said, each has its look and it may fit one project better than others. IMHO, being inspired by the quality of the light as represented by specific individual artists (or moments in time, experiences, visions, etc) to fit the mood of and complement whatever project is at hand is really what cinematographers are all about.

If it was just a flash it should be fine, perhaps the flash on the edges would be bleeding onto the frame, who knows. It also depends on the intensity of the light falling on the mag, if it was direct noon sunlight vs shaded inside of camera truck, and for how long, etc. Generally speaking, film rolls are packed very tight so if there is lateral flash, it will only travel so far into the image part of the roll. Like I said, it really depends on many variables and generally it is something to avoid doing, obviously.

Definitely, those who can afford the Alexa will be using them before the rest of us. And yes, it may never attain the unit numbers that RED puts out. But it already seems to be setting the standard as to what a high end digital cinematography camera should be. So the onus falls on RED and Sony et al to follow up on something that is at least perceived to be in the same ballpark.

That too. Except, no one seems to know when any of these cameras will be available for sale yet. The net is ablaze with the introduction of the Alexa, and tentative plans for its release later this year are in place --but as John points out and, for all practical purposes -- it may still be a couple of years before any of these yet-to-be-released cameras have a significant impact on the production world.

Sorry, I was being facetious. I heard some of the local owners of RED cameras discuss the rental market and the introduction of Alexa and its impact on said market and my brain just ran amok. I am sure that the RED One cameras will hold a little better than that. But it is true that most people willing to rent cameras always want whatever just came out vs a camera a couple of years old that may still be perfectly usable. Since a lot of the people who originally bought RED cameras did so under the assumption that they would rent out like hot cakes, you never know, it mas still happen that some of these cameras end up on eBay for a fraction of their original price in the not so distant future. Also, RED keeps threatening to release Epic cameras, furthering the anxiety of RED One owners. My impression is that since RED never referred to the One as a "prosumer" camera, the assumption is that it was all pro, and now that several other more advanced digital cinematography cameras are being released the pro rental market may follow that direction.

I hear some of the early "non-obsolescent" RED One cameras can be had for a couple of hundred dollars now that people are dumping them to get into the Alexa game . . . :lol:

Do you have any idea how corrosive salt water is? Professional underwater camera housings are designed to withstand very high levels of corrosive agents. While your idea is a good one, I completely disagree with the notion that underwater camera housings are easily damaged by corrosive agents.

Nice. Was it a Kowa anamorphic adapter or a lens? I have one of the adapters, haven't used it yet. I'd be interested to know how the adapter (if you used one) was mounted on the camera / lens. Thanks.

Not just Red haters need to act in penance, but pretty much every other manufacturer of non-future designated cameras and film (except for Arri). ;)

If the potential for corrosion is too great, I'd treat it like it is underwater and get an air-tight camera housing . . . ;)

David Rakoczy, who used to post here regularly, has the SR3, that -with the aid of a capping shutter- he uses to shoot time lapse, IIRC. Try searching the archives or sending him a PM.

You may want to keep it HDV sized all the way. If most of your footage is HDV, then you will only have to render the non HDV parts as opposed to the having to render most of your footage, or all, if the rest of it is in several different formats. Then, at the end, it really depends what you are mastering to. If it is HDV, then keep it that way. I definitely like having a master HD file saved as Pro Res 422 HQ in addition to any other format. To me that would be a good idea. It'll give you options later. It won't look any better necessarily, but it won't look worse than HDV. ;)

The XL1 has a big sized locking mount, much, much larger than C-Mount. I'd bet it can take more weight than a diminutive threading C-Mount. ;)

Yes, you are right. Sorry, I am in a NTSC country, and I am so used to doing it that way that I just brain farted. You should be able to conform to 24 fps. However there are some potential TC issues. Dunno what you version of FCP you have, this comes from the FCP 7 manual: About 24 @ 25 Timecode Conforming 25 fps video to 24 fps does not alter the 25 fps timecode of your PAL footage, so this command creates an unusual media format in which the video rate is 24 fps (the original rate of the film) and the timecode rate is 25 fps (the original timecode numbers from your PAL videotape). When you conform 25 fps media files to 24 fps, the media file timecode rate is defined as 24 @ 25. You can verify the timecode rate for a clip in the TC Rate Browser column or in the Item Properties window. 24 @ 25 timecode makes it easy to work at 24 fps but retain 25 fps timecode throughout your edit. You can then export a 25 fps EDL that matches your PAL video footage and therefore can be matched by a negative cutter to the original film edge code. Note: Because the editing timebase and playback are based on 24 fps, the 25 fps timecode no longer accurately represents the true passage of time. For example, 38 seconds of video (as defined by its 25 fps-based timecode) will actually take 40 seconds to play. Creating 24 @ 25 Sequences and Easy Setups To properly edit 24 @ 25 clips, you need to create a sequence with an editing timebase of 24 fps and set the timecode rate of this sequence to the special 24 @ 25 option. This option displays 25 fps timecode in your sequence as though you were editing PAL video, but the sequence plays back at 24 fps. There are two sequence presets designed for 24 fps PAL video: * DV PAL 48 kHz - 24 @ 25: This preset uses a 24 fps editing timebase and 25 fps timecode. When you export an EDL from a sequence with this sequence preset, 25 fps timecode values are used. This method is more common and should be used when you intend to export a 25 fps EDL for the negative cutter, instead of a cut list. * DV PAL 48 kHz - 2: This preset does not support 24 @ 25 editing. Instead, both the editing timebase and the sequence timecode are 24 fps. This method should only be used when you intend to export a cut list from your 24 fps PAL project. You can use the DV PAL 24 @ 25 Easy Setup included with Final Cut Pro, or you can create your own 24 @ 25 sequence preset if you are working with a format other than DV.

My understanding is that you first capture your source material (creating sub clips if need be), then do a Reverse Telecine (3:2 pull down) in Cinema Tools and then create your new database with your flex files in Cinema Tools. At least that is how I have done it and how this following (older) link also describes it: http://www.editorsguild.com/v2/magazine/Ne...nema_tools.html

Good Job. What exactly is a Digital Eymo, pray tell?

The DVX Andromeda is an aftermarket mod to DVX100s where they tap into the sensor, bypassing the limitations of the DV compression and colorspace: "The Andromeda system allows recording of 4:4:4 (Full RGB) Uncompressed digital video from your Panasonic DVX-100P/AP/B. Bypassing the in-camera processing, the Andromeda system utilizes the full 12-bit color precision available inside the camera, and yields additional dynamic range, particularly on the highlights. The dynamic range gains have been measured to yield a total of approximately 9.5 stops latitude, which is about a 2.5 stop improvement over the standard DV output. " http://www.dvinfo.net/forum/alternative-im...-available.html They seem to have gone out of business since I last heard about them. They had plans to modify the HVX200 as well. Dunno what came of that. The DVX Andromeda shot HD in some configuration, can't quite remember now. Here is some more info: http://www.dvinfo.net/forum/panasonic-p2hd...our-hvx200.html If the price was fantastic, I'd consider buying one, taking into account that the folks who modified it seem to have vanished and that support is probably out of the question at this point in time. ;)

This seems like a perfect example of "appeal to authority" logical fallacy:

Sorry, I actually own a couple of K3s and completely had a brain fart. :blink: Les Bosher may be able to make you the adapter. Don't remember offhand if he stocks them, but the man has a reputation for machining all sorts of adapters. http://www.lesbosher.co.uk/

2 stops seems to be the limit. You'll be fine. The extra stop can be fixed in telecine/ post. You'll get really tight grain, which can be good.